TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 9 • 1938-1939 | DOCD-5209 (1993) RM | FLAC (tracks+.cue), lossless

One of the greatest slide guitarists of the early blues era, and a man with an odd fascination with the kazoo, Tampa Red also fancied himself a piano player and bandleader, tendencies that come to the fore on this ninth installment of Document's attempt to release all of his known recorded work in chronological order. Covering the years 1937 and 1938, this collection is hardly typical of Red's work, since it has relatively few tracks featuring his trademark National Steel slide sound. Half of the disc is given over to small combo jazz pieces featuring Tampa Red's pleasant but ordinary vocal skills, and while these tracks are certainly professional and competent, it is a bit like discovering a Jimi Hendrix record with no guitar on it.  Steve Leggett

Tracklist :
1    Tampa Red–    Delta Woman Blues (A) 3:04
2    Tampa Red–    Deceitful Friend Blues     (A) 2:58
3    Tampa Red–    Wrong Idea (A) 2:49
4    Tampa Red–    Whoopee Mama (A) 2:54
5    Tampa Red–    Travel On (A) 2:21
6    Tampa Red–    Seminole Blues  (A) 3:01
7    Tampa Red And The Chicago Five–  (B) The Most Of Us Do    2:47
8    Tampa Red And The Chicago Five–  (B) We Gonna Get High Together    3:09
9    Tampa Red And The Chicago Five–  (B) Happily Married    3:06
10    Tampa Red And The Chicago Five–  (B) A Lie In My Heart    3:10
11    Tampa Red And The Chicago Five–  (B) Heck Of A How-Do-You-Do    2:47
12    Tampa Red And The Chicago Five–  (B) That May Get It Now    2:59
13    Tampa Red–    That Don't Matter Now (C) 2:40
14    Tampa Red–    Grouchy Hearted Woman (C) 2:53
15    Tampa Red–    Why Should I Care? (C) 3:22
16    Tampa Red–    Got To Leave My Woman (C) 3:15
17    Tampa Red And The Chicago Five– (D) Now That You've Gone    2:54
18    Tampa Red And The Chicago Five– (D) Rock It In Rhythm    2:51
19    Tampa Red And The Chicago Five– (D) I Do    2:59
20    Tampa Red And The Chicago Five– (D) Sweetest Gal In Town    2:34
21    Tampa Red–    Crazy With The Blues (E) 3:17
22    Tampa Red–    Love With A Feeling  (E) 2:57

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 10 • 1938-1939 | DOCD-5210 (1993) FLAC (tracks+.cue), lossless

Over ten years into Tampa Red's career and ten discs into their voluminous, multi-decade-spanning series of Complete Recorded Works, Document continued as strong as ever. These 22 tracks, recorded from mid-1938 to late 1939, embrace blues, rhythm tunes, and an occasional novelty like "Booze Head Woman" or "I Got a Big Surprise for You." As on previous volumes, collectors and serious blues fans will have the most interest in this completist format; everything from poor fidelity to chronological sequencing and a lengthy running time will prevent casual listeners from enjoying the entire proceedings. Thom Owens

Tracklist :
1    Tampa Red–    When Bad Luck Is On You (A) 3:09
2    Tampa Red–    When I Had A Good Woman (You Keep On Doggin' Me)     (A) 3:05
3    Tampa Red And The Chicago Five–    Mr. Rhythm Man (B) 2:51
4    Tampa Red And The Chicago Five–    Just You And I Alone (B) 3:01
5    Tampa Red And The Chicago Five–    Checkin' Up On You (B) 2:45
6    Tampa Red And The Chicago Five–    Oh, Yes, My Darling (B) 3:01
7    Tampa Red–    Forgive Me Please (C) 2:46
8    Tampa Red–    Blues For My Baby      (C) 3:16
9    Tampa Red–    Hellish Old Feeling (C)     3:11
10    Tampa Red–    She Got The Best In Town (C) 2:45
11    Tampa Red–    You Say It's Love  (D)     2:52
12    Tampa Red–    Bessemer Blues  (D) 2:45
13    Tampa Red–    Please Don't Throw Me Down  (D) 2:51
14    Tampa Red–    Sad Letter Blues  (D) 3:01
15    Tampa Red–    Booze Head Woman  (D) 3:00
16    Tampa Red–    If I Had Known  (D) 2:46
17    Tampa Red–    You Got To Give Me Some  (D) 3:11
18    Tampa Red–    Poor Old Gal Blues  (D) 2:48
19    Tampa Red–    No Good Woman Blues    (D) 3:15
20    Tampa Red–    Nobody Knows How Bad I Feel (D) 2:43
21    Tampa Red–    Ready For Rhythm      (E) 2:41
22    Tampa Red–    I Got A Big Surprise For You (E) 2:43

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 11 • 1939-1940 | DOCD-5211 (1993) FLAC (tracks+.cue), lossless

Tracklist :
1        I'll Try To Forget    (A) 2:58
2        Don't Forget It (A) 2:57
3        My Two Women (A) 3:03
4        Sweet Mellow Woman Blues     (A) 2:58
5        Dangerous Woman Blues (A) 2:58
6        I Don't Care No More    (A) 2:49
7        Anna Lou Blues (B) 2:50
8        Don't You Lie To Me (B) 2:55
9        Tired Of Your Reckless Ways (B) 2:49
 

10        It Hurts Me Too (B) 2:29
11        Baby, Take A Chance With Me  (B) 3:11
12        What Am I Going To Do? (B) 2:56
13        The Way To Get The Low Down (B) 2:32
14        You Say We're Through (B) 2:35
15        The Jitter Jump (C) 2:50
16        I Want To Swing (C) 2:47
17        Forget About Me (C) 2:43
18        She Loves Just Right (C) 3:02
19        Poor Little Fellow Blues (C)     3:16
20        Hard Road Blues (C) 2:55
21        Noonday Hour Blues (C) 3:09
22        Poor Little Fellow Blues (C)     3:11

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 12 • 1941-1945 | DOCD-5212 (1993) RM | FLAC (tracks), lossless

One of the more interesting installments in Document's attempt to release all of Tampa Red's recorded works in chronological order, this 12th volume covers the years 1941 to 1945. Red was playing electric guitar by this point, and most of the tracks here are proto-templates for the electric Chicago blues sound, although a bit more reined-in and refined. The lead track, "Georgia Georgia Blues," is perfect Tampa Red, with solid guitar, an easy-rolling vocal, and -- of course -- a kazoo break. "Detroit Blues" is another highlight, and this disc also features two of Red's best hokum pieces, the risqué "Let Me Play With Your Poodle" and the equally as daring "She Wants to Sell My Monkey." You can tell the musicians are having fun here, and even the gloomier blues cuts are sung with a wink and a grin. This is what country blues sounded like after moving to the city and settling in, and Tampa Red's urbane tone balances perfectly between the old and the new. Steve Leggett

Tracklist :
1        Georgia, Georgia Blues    (A) 2:50
2        I Got A Right To Be Blue (A) 2:54
3        Don't Deal With The Devil    (A) 2:49
4        She's Love Crazy    (A) 2:58
5        It's A Low Down Shame (A) 2:51
6        You'd Better Be Ready To Go (A) 3:00
7        No Baby No (A) 2:41
8        So Far, So Good (B) 2:41
9        My First Love Blues (B) 2:57
10        Gin Head Woman (B) 2:44
11        Don't Jive It Mama (B) 2:44
12        Gypsy Lady Blues (B) 3:01
13        Mean And Evil Woman (B) 2:50
14        Let Me Play With Your Poodle (B) 2:35
15        She Want To Sell My Monkey (C) 3:18
16        You Gonna Miss Me When I'm Gone (C) 2:53
17        I Ain't Fur It     (C) 3:04
18        The Woman I Love      (D) 2:41
19        Detroit Blues     (D) 3:03
20        Sure Enough I Do (D) 2:47
21        Lula Mae     (D) 3:06
22        Mercy Mama (E) 2:50
23        I Can't Get Along With You     (E) 2:51

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 13 • 1945-1947 | DOCD-5213 (1993) RM | FLAC (tracks+.cue), lossless

Tracklist :
1        Give Me Mine Now (A) 2:49
2        Better Leave My Gal Alone (A) 2:42
3        I'll Be Up Again Some Day (B) 2:59
4        I Oughta Bite You (B) 3:01
5        Corrine Blues (B) 2:41
6        Play Proof Mama (B) 2:31
7        Let's Try It Again (C)  2:57
8        Maybe, Someday (C) 2:39
9        Crying Won't Help You  (C) 3:09  

10        Please Be Careful  (C) 3:11
11        You May Be Down Someday (D) 3:00
12        She's A Solid Killer Diller  (D) 3:21
13        Poor Stranger Blues  (D) 2:57
14        New Bad Luck Blues (D) 3:14
15        I Know My Baby Loves Me (E) 2:33
16        Blue And All Alone (E) 3:01
17        You Better Woo Your Baby (E) 2:44
18        Grieving Blues (E) 2:51
19        Sugar Baby (F) 2:39
20        Keep Jumping  (F) 2:40
21        I'll Dig You Sooner Or Later  (F) 2:54
22        Roaming And Rambling  (F) 3:00

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 14 • 1949-1951 | DOCD-5214 (1993) RM | FLAC (tracks+.cue), lossless

Volume fourteen, of fifteen volumes charting Tampa Red’s recording career from 1929 to 1953, further galvanises the link between the blues styles of the rural south to the city sound of the north and in particular, Chicago. Here, his blues are solid, sometimes they are low down, sometimes they jump, often they are driven and occasionally they are even Boogied!!

The first three tracks feature Tampa on piano accompanying the vocal and guitar of Pete Frankiln. Frankiln’s guitar style is closely based on that of Scrapper Blackwell, his vocal, along with Tampa’s piano playing encompasses the sound of another major figure of the Chicago blues scene, Big Maeo Merriweather. For the rest of the album Tampa back to the guitar, including his trademark slide playing and is accompanied by Johnnie Jones, Ransom Knowling and Odie Payne; three men who were about to become part of one of the most dynamic and exciting blues bands  in Chicago during the 1950s; “The Broomduster’s”, led by the legendary Elmore James. Almost as a forerunner for things to come, we have, here, the first recording of When Things Go Wrong which James would record as “It Hurts Me Too”.

Pete Franklin an Indianapolis born guitarist/pianist who modelled himself on Leroy Carr and Scrapper Blackwell. On arrival in Chicago Franklin made the acquaintance of Jazz Gillum and Tampa Red and through them was employed by Victor A&R / Producer, Lester Melrose, as supporting guitarist to Gillum on 25th January 1949. The following day Melrose recorded Franklin in his own right. The pianist for the four number session was Pete Franklin – Tampa Red who, not unnaturally, chose the Leroy Carr style as his accompaniment to Franklin.

That session was held at Melrose’s address at 8922 S. Hoyne Avenue, as were those by Tampa Red in March 1949 and March 1950. Johnny Jones, then aged twenty-four, shows his indebtedness to Maceo on the bouncing “It’s A Brand New Boogey” and “When Things Go Wrong With You”, a remake of Tampa’s 1940 “It Hurts Me Too”. Jones’s other talent was as a harmonica player and his eerily accurate evocation of John Lee “Sonny Boy” Williamson’s style can he heard on the infectious shuffle, “Put Your Money Where Your Mouth Is”.

The start of a new decade was acknowledged by Tampa with the aptly titled “1950 Blues” which features Jones duetting on the chorus, there were also a further number of remakes including his 1928 hit, “It’s Tight Like That” (as “It’s Good Like That” with sonic spirited playing from Jones) and his 1938 offering, “Love Her With A Feelin’”. Perhaps getting Tampa to re-record some of his earlier successes fifties style was just another way of trying to reach the new audience. Later that year, in November, Tampa recorded a remake of his 1934 recording “Black Angel”, (as “Sweet Little Angel”) a number that Robert Nighthawk had enjoyed great success with for Chess the previous year and one that Tampa had long claimed authorship on even though it was first recorded as “Black Angel Blues” by Lucille Bogan in 1930. The song eventually became an R&B hit for B. B. King and unfortunately for Tampa, forever linked with that artist. DOCD-5214
Tracklist :
1    Pete Franklin–    Casey Brown Blues 3:08
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
2    Pete Franklin–    Mr. Charley 3:05
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
3    Pete Franklin–    Down Behind The Rise 3:07
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
4    Tampa Red–    It's A Brand New Boogey 2:56
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
5    Tampa Red–    Come On, If You're Coming 2:50
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
6    Tampa Red–    Please Try To See It My Way 3:03
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
7    Tampa Red–    When Things Go Wrong With You 2:55
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
8    Tampa Red–    Put Your Money Where Your Mouth Is 2:49
Bass – Ransom Knowling
Drums – Odie Payne
Harmonica [Uncredited] – Unknown Artist
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
9    Tampa Red–    That's Her Own Business 2:52
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
10    Tampa Red–    It's Too Late Now 2:55
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
11    Tampa Red–    I'll Find My Way 2:35
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
12    Tampa Red–    1950 Blues 3:14
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
13    Tampa Red–    It's Good Like That 2:31
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
14    Tampa Red–    Love Her With A Feelin' 3:14
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
15    Tampa Red–    New Deal Blues 3:12
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
16    Tampa Red–    Midnight Boogie 2:44
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
17    Tampa Red–    Don't Blame Shorty For That 2:46
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
18    Tampa Red–    I Miss My Lovin' Blues 2:54
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
19    Tampa Red–    Sweet Little Angel 2:56
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
20    Tampa Red–    Since My Baby's Been Gone 2:46
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
21    Tampa Red–    She's Dynamite 2:17
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
22    Tampa Red–    Pretty Baby Blues 2:59
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
23    Tampa Red–    Early In The Morning 3:13
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 15 • 1951-1953 | DOCD-5215 (1993) RM | FLAC (tracks), lossless

Tracklist :
1    Tampa Red–    Boogie Woogie Woman    (A) 2:23
2    Tampa Red–    She's A Cool Operator    (A) 3:01
3    Tampa Red–    I Won't Let Her Do It    (A) 2:44
4    Tampa Red–    Green And Lucky Blues     (A) 2:46
5    Tampa Red–    I'm Gonna Put You Down (B) 2:49
6    Tampa Red–    Look a There, Look A There     (B) 2:41
7    Tampa Red–    True Love (B) 2:42
8    Tampa Red–    But I Forgive You     (B) 2:51
9    Tampa Red–    Too Late Too Long     (C) 3:00
 

10    Tampa Red–    I'll Never Let You Go (C) 2:20
11    Tampa Red–    Al Mixed Up Over You (C) 2:47
12    Tampa Red–    Got A Mind To Leave This Town    (C) 2:37
13    Jimmy Eager & His Trio–    Please Mr. Doctor     (D) 2:49
14    Jimmy Eager & His Trio–    I Should Have Loved Her More    (D) 2:58
15    Jimmy Eager & His Trio–    Baby Please Don't     (D) 2:57
16    Jimmy Eager & His Trio–    Beat That Bop (D) 3:07
17    Tampa Red–    So Crazy About You Baby (E) 3:00
18    Tampa Red–    So Much Trouble (E) 2:59
19    Tampa Red–    If She Don't Come Back  (E) 2:34
20    Tampa Red–    Big Stars Falling Blues (F) 3:08
21    Tampa Red–    Rambler's Blues (F) 2:42
22    Tampa Red–    Evalena (F) 2:27

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 1 • 1927-1932 | DOCD-5050 (1991) FLAC (tracks+.cue), lossless

This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow

Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050

Tracklist :
1        House Rent Stomp (A) 2:30
2        Big Bill Blues (B) 2:57
3        Down In The Basement Blues (C) 3:27
4        Starvation Blues (C) 3:15
5        I Can't Be Satisfied (D) 2:45
6        Grandma's Farm (D) 2:23
7        Skoodle Do Do (D) 2:44
8        Tadpole Blues  (E) 2:54
9        Skoodle Do Do  (F) 2:44
10        Saturday Night Rub  (F) 2:54
11        Pig Meat Strut   (F) 2:47
12        Papa's Gettin' Hot  (F) 2:44
13        Police Station Blues  (G) 2:41
14        They Can't Do That (G) 2:48
15        State Street Woman  (H) 2:58
16        Meanest Kind Of Blues  (H) 2:58
17        I Got The Blues For My Baby  (H) 2:53
18        The Banker's Blues  (I) 2:32
19        How You Wan't Done?    (I) 2:46
20        Too Too Train Blues (J) 2:58
21        Mistreatin' Mamma  (J) 2:57
22        Big Bill Blues (J) 2:55
23        Brown Skin Shuffle (J) 2:55
24        Stove Pipe Stomp (J) 2:45
25        Beedle Um Bum (J) 3:00
26        Selling That Suff (J) 2:57

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 2 • 1932-1934 | DOCD-5051 (1991) RM | FLAC (tracks+.cue), lossless

By early 1932, the point at which this second volume in Document's series begins, Big Bill Broonzy was well established on the Chicago music scene; although his music was beginning to take on an urbanized flavor, his forté was still country-blues, and the opening tracks here -- "Mr. Conductor Man," "Too-Too Train Blues" and "Bull Cow Blues" among them -- are among his finest examples of the form. Of equal interest are the sides he subsequently recorded with his Jug Busters, a rather mysterious group which yielded just two tracks -- "Rukus Juice Blues" and "M and O Blues" -- but which pushed Broonzy further away from his rural roots; in all likelihood, the group also inaugurated his collaboration with the enigmatic yet renowned Black Bob, with whom he would cut a series of classic guitar and piano duets in the months to follow. Jason Ankeny

Abridged from this album’s original booklet notes. By 1932 Big Bill Broonzy had got the measure of the music business. He was well known in Chicago and, with his winning ways and talent, had become intimate with the leading musicians of his time and place and was laying down the base of the edifice he graced so easily in later years when he became a father figure for the post war blues. He had also become a member of a loose group who performed knockabout and sometimes salacious numbers in a style that they advertised by the use of the name The Famous Hokum Boys. He also often appeared backing “Jane Lucas“, in more than one of her manifestations, and these recordings, along with further explanation, will be appearing on other albums in this series. Bill was still playing country blues though, and having worked conscientiously on his guitar playing could turn out masterpieces like Mr. Conductor Man, The Too Too Train and Bull Cow Blues but he also around this time put together his ‘ Jug Busters‘. This group, whose exact membership is still a matter of contention, was made up of Bill, another guitarist, a pianist, a bass player, a kazooist and a washboard beater. A later grouping included a trumpet player, trombonist and a jug-blower. It was an indication of the way the urban blues was going. The pianist may have been the still obscure Black Bob. DOCD-5051

Tracklist :
1    Steel Smith–    You Do It (A)    3:07
2    Big Bill Johnson–    Mr. Conductor Man (B)    2:59
3    Big Bill–    Too-Too Train Blues (Matrix 11605-2) (C) 2:50
4    Big Bill–    Worrying You Off My Mind - Part 1 (C) 3:04
5    Big Bill–    Worrying You Off My Mind - Part 2 (C) 3:06
6    Big Bill–    Shelby County Blues (C) 3:16
7    Big Bill–    Mistreatin' Mama Blues (Matrix 11609-2)     (C) 3:01
8    Big Bill–    Bull Cow Blues (C)     2:50
9    Big Bill–    How You Want It Done? (Matrix 1161-2)     (C) 2:51
10    Big Bill–    Long Tall Mama (D) 2:47
11    Big Bill And His Jug Busters–    M And O Blues (E)    3:10
12    Big Bill And His Jug Busters–    Rukus Juice Blues (E) 3:03
13    Big Bill–    Friendless Blues (F) 3:22
14    Big Bill–    Milk Cow Blues (F) 3:16
15    Big Bill–    Hungry Man Blues (F) 3:30
16    Big Bill–    I'll Be Back Home Again (F) 2:52
17    Big Bill–    Bull Cow Blues - Part 2 (F) 3:33
18    Big Bill–    Serve It To Me Right (F) 3:24
19    Big Bill–    Starvation Blues (Matrix 80394-1) (F) 3:23
20    Big Bill–    Mississippi River Blues (F) 2:40
21    Big Bill–    At The Break Of Day (G) 2:56
22    Big Bill–    I Want To Go Home (G) 2:45
23    Big Bill–    Hard Headed Woman (H) 3:21
24    Big Bill–    Dying Day Blues (H) 3:02

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 4 • 1935-1936 | DOCD-5126 (1992) RM | FLAC (tracks+.cue), lossless

Swing might have been king by 1935-36, but Big Bill Broonzy was a different type of royalty, one of the major bluesmen in Chicago. Always a technically skilled guitarist, Broonzy's vocalizing had grown in maturity and depth during the first half of the 30s. On the fourth of 11 Document CDs that contain all of Big Bill's prewar recordings as a leader (and many as a sideman), Broonzy is heard on two religious numbers with the Chicago Sanctified Singers, one tune ("Keep Your Mind On It") with the Hokum Boys, and 21 songs either in duets with pianist Black Bob or trios with Black Bob and bassist Bill Settles. Among the more memorable selections are "Bad Luck Blues," "I'm Just a Bum," "Keep Your Hands Off Her," "The Sun Gonna Shine In My Door Someday" and "Match Box Blues."  Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was known by just about everybody involved in the music scene in Chicago. By mid-1935, when this volume takes up the story, the depression was easing somewhat and the juke box was countering its threat to one aspect of the musician’s livelihood by providing an opportunity in another in the form of increased recording activity and wider distribution of the product. Although he always worked at one or more “normal” jobs, labouring or serving in stores, Bill seems to have spent most of his life between the studios and the bars at this time and it is strange that, despite his involvement in enumerable sessions, only twenty tracks appeared under his own name on the Bluebird label (those not appearing here can be found on volumes 2 and 3 of this series). After much research and controversy Black Bob‘s real name remains uncertain though it seems probable that he was the Bob Hudson remembered by Memphis Slim. Louis Lasky, whose own work appears on DOCD 5045 The Songster Tradition, is alleged to have taught Bill how to flat-pick; he is also speculated to be the Louis Leslie associated (by “circumstantial” evidence, to quote Dixon and Godrich) with the Chicago Sanctified Singers. Certainly Leslie, Big Bill and Black Bob were all present in the ARC studios when the two Sanctified Singers sides were cut so a likely line up for this group might be Bill or Leslie, guitar, Bob, piano, and a vocal trio made up of Bill, with either Bob or Leslie and an unknown female. The influence of Leroy Carr on Big Bill Broonzy‘s work at this time is marked both on such upbeat numbers as the bouncy Keep Your Hands Off Her (a gentler title than the more usual Keep Your Hands Off It) and such sadly reflective songs as Bad Luck Blues. His voice was never as wistful as Carr’s but he made a conscious effort to study and reproduce the guitar sound of Scrapper Blackwell and supported by the outstandingly sympathetic piano of Black Bob (sometimes augmented by Bill Settles‘ string bass) produced a string of satisfying blues recordings to counterbalance the flood of hokum material that was washing over the market during those years. Big Bill Broonzy‘s involvement with this side of the business saw him working with such groups as The Midnight Ramblers and The State Street Boys. One representative track, The Hokum Boys‘ Keep Your Mind On It, is included here; it sees Big Bill Broonzy taking the vocal backed up by the guitar of Casey Bill Weldon and the sud-busting of Bill’s alleged half-brother Washboard Sam. DOCD-5126
Tracklist :
1    Chicago Sanctified Singers–    Tell Me What Kind Of Man Jesus Is 2:53
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
2    Chicago Sanctified Singers–    I Ain't No Stranger Now 2:52
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
3    Big Bill Broonzy–    Mountain Blues 3:02
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
4    Big Bill Broonzy–    Bad Luck Blues 3:07
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
5    Big Bill Broonzy–    I Can't Make You Satisfied 3:11
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
6    Big Bill Broonzy–    I'm Just A Bum 2:58
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
7    Big Bill Broonzy–    Keep Your Hands Off Her 2:51
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
8    Big Bill Broonzy–    The Sun Gonna Shine In My Door Someday 3:01
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
9    Big Bill Broonzy–    Good Liquor Gonna Carry Me Down 2:43
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
10    Big Bill Broonzy–    Down The Line Blues 3:17
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
11    Big Bill Broonzy–    Bricks In My Pillow 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
12    Big Bill Broonzy–    Tell Me What You Been Doing 2:53
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
13    Big Bill Broonzy–    Ash Hauler 2:34
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
14    Big Bill Broonzy–    Evil Women Blues 2:57
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
15    Big Bill Broonzy–    These Ants Keep Biting Me 2:49
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
16    Big Bill Broonzy–    Big Bill Blues (These Blues Are Doggin' Me) 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
17    Big Bill Broonzy–    You Know I Need Lovin' 3:10
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
18    Big Bill Broonzy–    Match Box Blues 2:59
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
19    Big Bill Broonzy–    Low Down Woman Blues 3:00
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
20    The Hokum Boys–    Keep You Mind On It 3:02
Bass [Probably] – Bill Settles
Guitar, Vocals – Big Bill Broonzy, Casey Bill Weldon
Washboard – Washboard Sam
21    Big Bill Broonzy–    Bull Cow Blues, No. 3 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
22    Big Bill Broonzy–    Married Life's A Pain 3:02
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
23    Big Bill Broonzy–    Black Mare Blues 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
24    Big Bill Broonzy–    Pneumonia Blues (I Keep On Aching) 2:38
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 5 • 1936-1937 | DOCD-5127 (1992) FLAC (tracks+.cue), lossless

Big Bill Broonzy recorded a great deal in Chicago during the 1930s, and fortunately, every one of the selections (except for a few that cannot be located) have been reissued on CD by the Austrian Document label in this "complete" series. In addition to selections with a trio (which includes pianist Black Bob and bassist Bill Settles), Broonzy is heard on this fifth volume with the Hokum Boys (on "Nancy Jane"), the Midnight Ramblers (which include Washboard Sam) and the Chicago Black Swans, a band similar to the Harlem Hamfats that adds guitarist Tampa Red). The final four numbers return to the trio format but add trumpeter Punch Miller to two of the songs. Throughout, Broonzy is heard in prime form. Among the selections are "Big Bill's Milk Cow No. 2," "Nancy Jane," "Detroit Special," "Out With the Wrong Woman," "Southern Flood Blues" and "Let's Reel and Rock." Scott Yanow

Abridged from this album’s original booklet notes. In 1934 Big Bill Broonzy had recorded Milk Cow Blues for Bluebird (see volume two of this series) and it had been a sufficient hit for him to assay a Milk Cow Blues No. 2 for ARC, this time filling out the sound by utilising Black Bob‘s piano for support. This basic line-up of guitar, piano, string bass and woodblocks was given an extra dimension when Charlie McCoy was added playing the mandolin. Charlie, like Big Bill, was a jobbing musician about Chicago. He had found his niche when, along with his brother ‘Hallelujah’ Joe McCoy he became part of the basic line-up of the Harlem Hamfats. This group used a ‘New Orleans’ front line of trumpet and clarinet backed-up by a piano and a guitar/mandolin/drums rhythm section. The session with Charlie produced Bill’s complaint about his addiction to playing craps in Seven-Eleven (“My point was a nine, I stopped at six – and that trey came flyin”‘) and about his girl-friend’s bad actin’ in You Know I Got A Reason. (Is there an accusation of lesbianism in the line “You say that woman you run with is your lady friend, it don’t look much like it for the shape I caught y’all in”?) During the same period, May / June 1936, Bill was still performing as part of The Hokum Boys, singing and playing the guitar on Nancy Jane a number they had recorded before, without it being released, as far back as 1930. A further Big Bill / Black Bob session took place in the September of 1936. It included Black Widow Spider in which Bill may have mixed his genders by representing himself as a spider with “red stripes under my belly” after making it sore by “crawlin’ down your wall”. The same combination also recorded in November of that year, one track, Out With The Wrong Woman being issued as by The Midnight Ramblers. Several songs and alternative takes of material recorded around this time, i. e. Cherry Hill Take 2, were not issued until they appeared on LP in the late 60s / early 70s. On the 26th January 1937 Big Bill Broonzy took the vocal and guitar part for a group called the Chicago Black Swans. This was a loose collection of musicians including Herb Morand and Arnett Nelson, the front line of the Hamfats. The same group recorded the same two titles on the same day with vocals by Mary Mack for release as by The State Street Swingers. Further confusion is added by the fact that Bill had already recorded Don’t Tear My Clothes (presumably implicitly “No. 1”, see volume three of this series) with a group known as The State Street Boys whose more rural sound had been built around the violin of Zeb Wright. Never slow to adapt to trends Bill featured a trumpet and drums on his next session (although he refers to a cornet on Come Up To My House). After cutting his commentary on the recent flooding of the Ohio River in his magnificent Southern Flood he brought forward “Mr Sheiks” and Fred Williams to up-date his sound to that of Big Bill’s Orchestra (?). “Mr Sheiks“, whose identity has been the subject of much speculation, was no Herb Morand and two days later Big Bill Broonzy was back in the studio to try again – this time in the company of Ernest ‘Kid Punch’ Miller, who came, like Morand, from a New Orleans background and was one of the foremost jazzmen of his generation. Hedging, Bill also cut for his older audience on this session producing the delicately picked Horny FIog which included references to the south, north migration along with the wonderful line dismissing his troublesome girlfriend: “I’m tired of poppin’ my belly for you”. DOCD-5127
Tracklist :
1        Big Bill's Milk Cow No. 2 (A) 3:07
2        W.P.A. Blues (B) 3:01
3        I'm A Southern Man (B) 2:47
4        Nancy Jane (C) 3:00
5        Lowland Blues (D)    3:02
6        Seven-Eleven     (D)    2:57
7        You Know I Got A Reason (D) 2:49
8        Oh, Babe (D)    3:08
9        Detroit Special  (E) 2:50
10        Falling Rain  (E) 3:17
11        Black Widow Spider (F) 2:52
12        Cherry Hill  (G) 3:12
13        Out With The Wrong Woman (H) 2:57
14        Don't Tear My Clothes No. 2 (I)    2:42
15        You Drink Too Much (I) 3:08
16        Southern Flood Blues (J) 3:13
17        My Big Money     (J) 3:12
18        My Woman Mistreats Me (J) 3:00
19        Let's Reel And Rock (J) 3:15
20        Come Up To My House (J) 3:11
21        Get Away (K) 2:57
22        Terrible Flood Blues (K) 3:04
23        Little Bug (K) 3:05
24        Horny Frog [Take 1] (K) 3:08
Credits :
(A) Big Bill Broonzy, vocal, guitar; Black Bob, piano; “Heebie Jeebies”, wood blocks  01/05/1936
(B) Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass “Heebie Jeebies” woodblocks on 3. 27/05/1936
(C) The Hokum Boys: Big Bill Broonzy, vocal, guitar; Casey Bill Weldon, guitar, vocal / chorus; Black Bob, piano: Bill Settles, stand-up bass.   11/06/1936
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 03/09/1936
(E) Big Bill Broonzy, vocal, guitar; Probably Horace Malcolm, piano; Charlie McCoy, mandolin. Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass.  16/09/1936
(F)  Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass.  28/10/1936
(G) Chicago Black Swans: Big Bill Broonzy, vocal, guitar; accompanied probably by Herb Morand or possibly Alfred Bell, trumpet; Arnett Nelson, clarinet; Black Bob, piano; possibly Tampa Red, guitar; unknown, percussion. 19/11/1936
(H) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, stand-up bass; possibly Washboard Sam, scat vocal. 19/11/1936
(I) Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass. 26/01/1937
(J) Big Bill Broonzy, vocal, guitar; accompanied by “Mr. Sheiks (Alfred Bell), trumpet, on 16, 17, 19, 20; possibly . Fred Williams. drums on 19 and 20. Bill Settles, stand-up bass; possibly Fred Williams, drums on 19, 20. 29/01/1937
(K) Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 21, 23; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums on 23 / woodblocks on 22, 24. 31/01/1937

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 6 • 1937 | DOCD-5128 (1993) RM | FLAC (tracks+.cue), lossless

1937 was a busy year for Big Bill Broonzy, who was turning 44. A greatly in-demand blues guitarist in Chicago, Broonzy was also an underrated singer and a major solo artist. This CD from the Austrian Document label (the sixth of 11 that trace his entire prewar recording career) includes 26 selections with plenty of alternate takes and nine previously unreleased performances. Broonzy is joined by either Black Bob, Leeford or Aletha Robinson or Joshua Altheimer on piano (Blind John Davis joins up for the final session), and sometimes bassist Bill Settles, drummer Fred Williams, unidentified players and (on three occasions) trumpeter Punch Miller. Although not quite essential, this CD will be desired by Broonzy's greatest fans, along with all of the releases in this very valuable series. Among the more notable selections are "Mean Old World," "Down in the Alley," "Louise, Louise Blues" and "It's Too Late Now."  Scott Yanow

Abridged from this album’s original booklet notes. This volume picks up the recorded works of Big Bill Broonzy half way through the session of 31st January 1937. One of the tracks he sat out was Horny Frog, an alternative take of which opens this set to complement the last track on Volume 5, however he joined in for Mean Old World and’ contributed some nice growling trumpet to You Do Me Any Old Way. On 10th of March that year Bill was one of the Midnight Ramblers, a group which featured piano, string bass (probably of the “tea chest” variety) and the shared vocals of himself and Washboard Sam. The partnership between Black Bob and Big Bill seems to have ended with the session of 9th June 1937 and, by July Leeford Robinson was occupying the piano stool. The session opened with Bill pleading for the return of one “Hattie” to save him from descending into a life of drinking and gambling (a joke surely!) and continued with a song in praise of his “crankie” Model T Ford

“You can have your V8 and your Lincoln too, Give me my Model T, I know what she will do”.

The trumpet and drums are prominent on this up-tempo cut. Another of Bill’s possessions comes in for praise on Come Home Early where he sings

“Don’t be scared, it won’t bite, My damper’s made to fit an eight inch pipe”.

Leeford Robinson seems to have been a stop-gap too and after that date Big Bill Broonzy turned to Blind John Davis for support on the 88 before beginning his long association with Josh Altheimer, although it may be Altheimer working on My Girl Is Gone. The two men, working with Fred Williams, drums, held down the session of 13 October 1937 when Bill explained his wariness in commercial transactions. “When I’m ready to buy, I want my hands on it – so it won’t fly”, and dragooned the tune best known as Sitting 0n Top of The World into service for the slow and reflective blues It’s Too Late, to which Davis adds some delicate piano. This set winds up with Made A Date With An Angel – “Poor me, I can’t fly”, which is not the pop song it appears to be and is more correctly sub-titled Got No Walking Shoes. DOCD-5128
Tracklist :
1        Horny Frog [Take 2] (A) 3:04
2        Mean Old World [Take 1] (A) 3:00
3        Mean Old World [Take 2] (A) 3:08
4        Barrel House When It Rains (A)     2:49
5        You Do Me Any Old Way [Take 1] (A) 2:50
6        You Do Me Any Old Way [Take 2] (A) 3:02
7        Down In The Alley [Take 1]     (B) 2:51
8        Down in The Alley [Take 2]     (B) 2:47
9        Stuff They Call Money     (B) 2:50
10        Louise Louise Blues [Take 1] (C) 2:44
11        Louise Louise Blues [Take 2]  (C) 2:42
12        Let Me Be Your Winder (C)    3:10
13        Hattie Blues [Take 1] (D) 2:57
14        Hattie Blues [Take 2] (D) 2:58
15        My Old Lizzie [Take 2] (D) 2:52
16        Come Home Early [Take 1] (D) 3:02
17        Come Home Early [Take 2]    (D) 3:00
18        Come Home Early [Take 3] (E) 2:58
19        Come Home Early [Take 4] (E) 2:53
20        My Gal Is Gone (F) 2:46
21        Evil Hearted Me (F) 2:40
22        I Want My Hands On It [Take 1] (G)    2:56
23        I Want My Hands On It [Take 2] (G) 2:53
24        It's Too Late Now [Take 1]     (G)    3:05
25        It's Too Late Now [Take 2] (G)    3:01
26        Made A Date With An Angel [Take 1] (G)    2:57
Credits :
(A) Big Bill Broonzy, vocal, guitar; Punch Miller, trumpet on 1, 5, 6; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums.  31/01/1937
(B) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, imitation bass; Washboard Sam, vocal.  10/03/1937
(C) Big Bill Broonzy, vocal, guitar; Alfred Bell, trumpet on 12; Black Bob, piano; Fred Williams, drums.  09/06/1937
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 08/07/1937
(E) Big Bill Broonzy, vocal, guitar; Leeford or Aletha Robinson, piano on 18; Black Bob, piano on 19; unknown, stand-up bass.  16/08/1937
(F)  Big Bill Broonzy, vocal, guitar; Black Bob, or probably Joshua Altheimer, piano on 20; unknown 2nd guitar; unknown stand-up bass.   19/08/1937
(G)Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 7 • 1937-1938 | DOCD-5129 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's 1930s recordings (reissued in full on this extensive series of Document CDs) are remarkably consistent and have an impressive amount of variety within the blues idiom. During the 11 months covered by this seventh volume, Broonzy recorded as part of three different trios with either Blind John Davis or Joshua Altheimer on piano and Fred Williams, Bill Settles or Ransom Knowling on bass; a "modern" quartet with tenorman Bill Owsley and the pioneering electric guitar of George Barnes (on Mar. 1, 1938); and with a few slightly expanded groups, including one with trumpeter Punch Miller. Broonzy was open to the influence of swing (thus the occasional horns) while sticking to his Chicago blues base. Such numbers as "Hattie Blues," "Somebody's Got to Go," "It's a Low Down Dirty Shame," "Unemployment Stomp," "Night Time Is the Right Time No. 2" and "W.P.A. Rag" show off his versatility and talents. Scott Yanow

Abridged from this album’s original booklet notes. “I sold a one-eyed mule and I bought me an automobile” Big Bill Broonzy sang on his 1937 recording Good Boy. Metaphorically this had been true for several years as he had moved away from the simpler instrumentation and rural images of his earlier records into a world that was decidedly metropolitan. On his session of 1st March 1938 he augmented his basic piano, guitar, bass and drums line-up with the introduction of a tenor sax and the electric guitar of George Barnes. Barnes, a virtuoso who often performed as a duo with Jazzman Carl Kress, brought an entirely new sound to Sweetheart Land a rather trite song on which Bill calls to the sax player to “Play that thing” in a tone of voice that makes it sound as if he doesn’t even know what “that thing” is! The sound was edging towards what would come to be known as R & B. The pianist on the following session was Josh Altheimer who would fill the role of Big Bill Broonzy‘s premier accompanist up until his death on the 18th of February 1940. Altheimer, who was born in 1910, never had a record issued over his own name but was well known for his work with Lonnie Johnson, Jazz Gillum, Washboard Sam and John Lee “Sonny Boy” Williamson. He was never a hard boogie man either, though he could rock when called upon to do so, but preferred to work in a band setting where he would seldom take a solo but would hold everything together with his rolling style. Trumpet star Punch Miller was on hand again to liven up the 30th March 1938 session which produced Unemployment Stomp, a topical up-tempo number that made reference to Mr. Roosevelt’s unemployment cards, and Bill’s ode to his own sexual potency I Got To Get Ready Tonight. “Here come a train”, he calls, and his order for a pint of oysters and a dozen eggs indicates that although he intends to ride it won’t be down the I. C. track. At the same session, but without Miller, Bill cut a version of the Dirty Mother Fuyer theme as Truckin’ Little Woman. The stripped-down trio of piano, guitar and string bass was used on Bill’s next studio appointment when he cut It’s Your Time Now with his wry observation to his girl-friend “Men tell you that you’re beautiful (but) they don’t have to keep you that way”. The electric guitar and tenor sax were back for the next set, probably being played by Georges Barnes and Bill Owsley, who doubled on clarinet, respectively. Big Bill Broonzy used them to cash in on an extension of Roosevelt Sykes‘ Night Time hit, which had been recorded the previous year, and a version of Shake ‘Em On Down that was about as far removed from that of Bukka White as it could get. The last two tracks on this disc from a session labelled as being by Big Bill and The Memphis Five. This was a jazz date featuring both the trumpet and an alto sax. Let Me Dig It, a selection from the bawdy “butcher’s son” chain of verses, has what sounds like a twin trumpet lead while W. P A. Rag is a straight ahead jazz band work out. DOCD-5129
Tracklist :
1        Made A Date With An Angel [Take 2] (A) 3:07
2        Play Your Hand (A) 2:55
3        Hattie Blues [Take 3] (B) 2:42
4        Somebody's Got To Go     (B) 2:56
5        Good Boy (B)     2:50
6        I Want You By My Side (B)     2:51
7        Border Blues (B) 2:49
8        Sweetheart Land    (C) 2:46
9        It's A Low Down Dirty Shame (C) 2:53
10        Got To Get Ready Tonight (D) 2:54
11        Trucking Little Woman     (D) 2:36
12        Unemployment Stomp (D) 2:35
13        Why Do You Do That To Me? (D) 2:56
14        It's Your Time Now (E) 2:48
15        I'll Start Cutting On You (E) 2:42
16        Sad Letter Blues (E) 2:48
17        The Mill Man Blues (E) 2:41
18        I'll Do Anything For You (F) 2:54
19        Sad Pencil Blues (F) 2:32
20        New Shake-em On Down [Take 2] (F) 2:52
21        Night Time Is The Right Time No. 2 (F) 2:47
22        Let Me Dig It    (G) 2:35
23        W.P.A. Rag (G) 2:47
Credits :
(A) Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937
(B) Big Bill Broonzry, vocal, guitar; Blind John Davis, piano; Bill Settles, stand-up bass. 21/19/1937
(C) Big Bill Broonzy, vocal, guitar; accompanied probably by Bill Owsley, tenor sax; Blind John Davis, piano; George Barnes, electric guitar.  01/03/1938
(D) Big Bill Broonzy, vcl; acc. Punch Miller, trumpet; Joshua Altheimer, piano; Fred Williams. drums. 30/03/1938
(E) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; probably Ransom Knowling, stand-up bass. 05/04/1938
(F) Big Bill Broonzy, vocal, guitar; Bill Owsley, clarinet 19,20,21 / tenor sax on18,19; probably Joshua Altheimer, piano; probably George Barnes, electric guitar; Ransom Knowling, stand-up bass.  05/05/1938
(G) Big Bill And The Memphis Five: Big Bill Broonzy, vocal, guitar; accompanied by Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; possibly Ransom Knowling, stand-up bass. 15/09/1938

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 8 • 1938-1939 | DOCD-5130 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's popularity continued to rise during the five months covered by this CD (the eighth of 11) in Document's "complete" Broonzy series. In addition to 21 studio sides (five previously unissued) made in Chicago, Broonzy is heard performing "Done Got Wise" and "Louise, Louise" at John Hammond's "Spirituals to Swing" concert at Carnegie Hall (with the backing of pianist Albert Ammons and bassist Walter Page). Otherwise, the influential guitarist/singer is featured with the Memphis Five (a group including trumpeter Walter Williams and altoist Buster Bennett) and various trio/quartets with his regular pianist of the period, Joshua Altheimer. This CD is particularly notable for including the original version of "Just a Dream," which became a standard. Otherwise, Broonzy shows off the influence of both swing and country-blues in varying combinations; his repertoire here includes "Trouble and Lying Woman," "Flat-Foot Susie With Her Flat Yes Yes," "Preachin' the Blues" and "Fightin' Little Rooster." Scott Yanow

Abridged from this album’s original booklet notes. It was probably no accident that Big Bill Broonzy should follow his W. P. A. Rag with Going Back To Arkansas. In the depressed northern cities of 1938 life in the south could take on a golden glow of a nostalgia that ignored the facts of the case. The world of collard greens, ham hock and the benign “boss” that Broonzy evokes was just a myth and he had no plans for returning. Maybe Vocalion recognized this feeling as being a fanciful fabrication of the truth. Arkansas nor I Believe I’ll Go Back Home from this session were issued at the time. There was certainly nothing countrified about the treatment afforded last track cut by The Memphis Five at this time where the instrumental sound of Louise approaches swing – and I believe that Bill was bluffing when he threatened, on Trouble And Lying Woman, to “get me a sissy man and let all you women go”. Just over a month later Bill was back in the studio capitalizing on his hit Trucking Little Woman with a No. 2. At the same time he failed to make an acceptable cut of Flat Foot Susie. He tried again in October but the result had to wait almost ten years before it was released. 1938 was a seminal year for both Big Bill Broonzy and the blues generally. For the first time the music was brought to the notice of the white public at large. The story of John Hammond‘s search for Robert Johnson to represent the blues on his ‘Spirituals To Swing’ concert of December 1938 is well known. That, in his failure to locate Johnson alive, he should turn to Big Bill seems an odd course today, the similarities between the intense Johnson and the laid-back Broonzy being marked. Maybe the choice was made on the strength of Bill’s earlier recordings and his proficiency on the guitar; maybe it was just a panic reaction to fill out the program. Whatever, Bill, playing with support from Albert Ammons and Walter Page, charmed his audience, as can be heard from their reaction to Done Got Wise, and, almost inadvertently, set ajar a door for the blues that was to open further after the war and finally swing wide in the 1960s. When, in February of 1939 he cut a session with his stalwarts Josh Altheimer and Fred Williams, he included Done Got Wise and a statement of his personal philosophy in Whiskey And Good Times – “and a woman will do the rest”. Also on the sheets was that rarity a “gospel blues” on which Bill warns that “you may be having a good time with other women, but you may go to hell that way” and then qualifies his advice with the coda “don’t do as I do – just do as I tell you to”. The ironic Just A Dream was to become one of Bill’s best known songs and later, during his concert hall period, he converted it into a mild protest song that went down well with his liberal white audience. Five days after he cut Just A Dream Bill re-convened The Memphis Five using a trumpet, alto and a string bass along with the piano of Blind John Davis to produce the last five recordings on this disc, including the Mother Fuyer variant Fightin’ Little Rooster which was issued under his own name’. DOCD-5130
Tracklist :
1        Going Back To Arkansas (A) 2:49
2        Rider Rider Blues (A) 2:41
3        Living On Easy Street (B) 2:53
4        Good Time Tonight  (B) 2:30
5        Trouble And Lying Woman (B) 2:36
6        I Believe I'll Go Back Home     (B) 2:25
7        Flat Foot Susie With Your Flat Yas Yas  (C) 2:57
8        Trucking Little Woman No. 2  (C) 2:43
9        Hell Ain't But A Mile And A Quarter     (D) 2:54
10        Don't You Lay It On Me (D) 2:38
11        Done Got Wise (E) 2:37
12        Louise, Louise     (E) 2:53
13        Spreadin' Snake Blues    (F) 2:40
14        Baby Don't You Remember    (F) 2:43
15        Whiskey And Good Time Blues (F) 2:52
16        Baby I Done Got Wise    (F) 2:30
17        Preachin' The Blues (F) 2:41
18        Just A Dream (F)     2:34
19        Fightin' Little Rooster    (G) 2:33
20        Mary Blues (G) 2:34
21        You Can't Sell 'em In Here    (G) 2:37
22        Just Got To Hold You Tight [Take 1] (G) 2:30
23        Just Got To Hold You Tight [Take 2]     (G) 2:32
Credits :
(A) Big Bill And The Memphis Five: Big Bill Broonzy, vocal, guitar; accompanied by Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; possibly Ransom Knowling, stand-up bass. 15/09/1938
(B) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; unknown, stand-up bass. 15/09/1938
(C) Big Bill Broonzy, vocal, guitar; accompanied probably Walter Williams, trumpet on 7; probably Buster Bennett, drums on 8; probably Horace Malcolm, piano; probably Fred Williams, drums on, 8. 27/09/1938
(D) Big Bill Broonzy, vocal; accompanied by Joshua Altheimer, piano; unknown, guitar; Ransom Knowling, stand-up bass. 10/11/1938
(E) Big Bill Broonzy, vocal, guitar; Albert Ammons, piano; Walter Page, stand-up bass. 23/12/1938
(F) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; Fred Williams, drums. 10/02/1939
(G) Big Bill And His Memphis Five: Big Bill Broonzy, vocal, guitar; Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; probably Ransom Knowling, stand-up bass. 10/02/1939

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 9 • 1939 | DOCD-5131 (1993) FLAC (tracks+.cue), lossless

During the latter half of 1939, blues guitarist/singer Big Bill Broonzy was near the height of his fame and was recording quite prolifically. For the ninth of 11 Document CDs in the comprehensive Broonzy series, he is joined throughout by pianist Joshua Altheimer and either bassist Ransom Knowling (the first nine numbers) or drummer Fred Williams. The erratic clarinetist Odell Rand (who also plays some alto sax) is on the first session and does not help things much, but Broonzy is so strong that it really does not matter. Among the more notable numbers are "She Never," "Too Many Drivers," "That's All Right Baby" and "Dreamy Eyed Baby," while "Just a Dream No. 2" is a remake/continuation of his hit from earlier in the year. Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was as popular and prolific an artist in 1939 as at any time in his career. For his first session after the Memphis Five date in February Bill called upon the talents of Odell Rand and Ransom Knowling for back up to his own guitar, Josh Altheimer‘s piano and Fred Williams drums. Knowling was probably one of the most sought-after bass players in the city, listen to his slapping on Ride Alberta Ride to see why, and Rand never seemed to want for work for his clarinet, although listening to some of the lack-lustre and lifeless performances here it is hard to see just what Bill appreciated about his work. Maybe he just thought it helped to produce a more sophisticated overall sound. One stand-out track from this session is She Never, a tale of female duplicity that inspired many, Brownie McGhee and the obscure Harvey Hill among them, to produce versions of their own at a later date. Even more popular was Too Many Drivers, (“you told me you had one driver – you got two or three”) which further extended the “female as automobile” metaphor so prevalent in blues lyrics and which spawned a post war hit for Lowell Fulson. It was back to old standbys Josh Altheimer and drummer Fred Williams for his next round in the studio which produced a follow up to Bill’s hit Just A Dream, labelled No. 2, on which Altheimer plays a cascading piano part while Williams bashes away at the drums with far more force than finesse. In view of his later trips to these shores Big Bill Broonzy‘s observation, on Dreamy Eyed Woman, that “if you was born in England I believe you would ‘pass’ over there” may seem prescient but it was only a facet of his oft-made contention that “beauty is only skin deep – ugly is to the bone”. By the end of 1939 war had broken out in Europe and, although America was not yet directly involved, Europe’s misfortune, after the WPA and CCC and other manifestations of Roosevelt’s New Deal, represented a final nail in the coffin of depression in America. It looked as if Bill’s Big Money might come round again. DOCD-5131
Tracklist :
1        Just Wondering (A) 2:45
2        Keep On A-Smilin'     (A) 2:43
3        She Never  (A) 2:43
4        Woodie Woodie  (A) 2:54
5        Too Many Drivers (A) 2:34
6        You Can't Win (A) 2:40
7        Ride, Alberta, Ride  (A) 2:48
8        That's All Right Baby (A) 2:55
9        Please Be My So And So  (A) 2:42
10        I.C. Blues  (B) 3:00
11        Cotton Choppin' Blues (B) 2:45
12        Hot Dog Mama (B) 2:40
13        Dreamy Eyed Baby (B) 2:48
14        My Last Goodbye To You (B) 2:36
15        Don't You Want To Ride (B) 2:47
16        Don't You Be No Fool (B) 2:44
17        Just A Dream No. 2 (B) 2:47
18        Tell Me What I Done (B) 2:53
19        Oh Yes (B) 2:33
20        I'm Still Your Sweetheart, Baby     (C) 2:46
21        Down And Lost In Mind (C)    2:52
22        Let's Have A Little Fun (C)    2:55
23        Messed Up In Love (C)    2:42
Credits :
(A) BBB, vocal, guitar; accompanied by Odell Rand, clarinet / alto sax; Joshua Altheimer, piano; Ransom Knowling, stand-up bass. 11/05/1939
(B) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano (except on 19); Fred Williams, drums. 14/09/1939
(C) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano; Fred Williams, drums. 08/12/1939